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Totally Guitars Weekly Wrap Up February 23rd, 2018

On The Beat with Totally Guitars - Fri, 02/23/2018 - 14:14
Master Your Favorite Tune with the online guitars lessons from Totally Guitars! Totally Guitars News Podcast Big news today – the uploader for Student Reviews worked for me. I really want to encourage everybody to give it a try with anything you are working on or having trouble with. And speaking of uploads, it was […]
Categories: Learning and Lessons

Win a Free Yearly or Lifetime All Access Pass

Learning Guitar Now - Fri, 02/23/2018 - 10:29

For the 10 Year Anniversary I’m running a special promotion where you can win 1 of 5 All Access Passes. There will be 3 Yearly passes and 2 Lifetime passes given away.

To qualify you will need to make a purchase of the Download version of the new Play Like Duane Allman Slide or Slide Bundle. The last day to qualify is Monday Feb 26th at 8am EST. Then at 1pm EST on that same day the 5 winners will be announced and posted right here on this blog post.

Thanks and Good Luck!

– John

The post Win a Free Yearly or Lifetime All Access Pass appeared first on Learning Guitar Now Blog.

Categories: Learning and Lessons

Tone Rite: Results are in!

Cape Cod Acoustics - Thu, 02/22/2018 - 12:51
As promised, my totally unscientific report on the results of using the Tone Rite device. For those unfamiliar with this gadget, it is an electronic device about the size of a cigarette pack that is inserted between the strings close to the bridge of an acoustic guitar and when turned on it emits a humming vibration that is supposed to simulate the effect of playing the guitar for an extended period of time. That is, the vibrations are supposed to “open up” a guitar which may be brand new and expected to improve in things like resonance, sustain and clarity as time passes. It is not inexpensive. I paid the full retail price of $149 for mine and it was shipped promptly by the manufacturer. This is the “third generation” Tone Rite, which as far as I can tell means it has a variable dial to regulate how much it vibrates and also improved rubber “feet” to fit more securely than previous versions.
It comes packaged in a very slick box with instructions, and a welcome-to-the-Tone Rite Family bit of promo hoo-ha. One of the recommendations that I’d read about and makes perfect sense is to hang the guitar from a yoke-style guitar stand or even suspend it so the guitar can vibrate to the maximum, rather than leave it in a case which would absorb much of the vibrations (which it should!). I hung my brand-new Martin OM-28 from a high quality Hercules yoke stand and the guitar only touched the stand up at the head stock and at two points on the edge of the lower bout. Upon turning it on I could feel the vibrations throughout the instrument.
Then the question was – how high should I turn it up? According to the instructions, turning it up to max vibration will improve the bass end, sound-wise, while turning it to a medium setting will mostly affect the mids and treble. This was what I was looking for because as I wrote about in the previous post I felt my OM-28 was a bit tight sounding in those area; the bass end wasn’t quite what I want at this time but I’m confident that area will improve in a relatively short amount of time, based upon my experience with many new Martins.
Initially the hardest part was being patient! The manufacturer recommends at least 72 hours of constant use initially, with periodic re-use if the guitar starts to “tighten up” again. Well, staring at my beautiful guitar and not being able to play it for that amount of time was difficult, to say the least. Plus a small part of me was a bit worried that the thing might be vibrating too much (!) and perhaps I was doing nothing more than loosening up the interior braces, or worse. That fear proved to be unfounded, thank goodness. So I stuck it out.
Finally the day came to turn the thing off, tune up and hope for the best. I wish I could say the result was radical; it was not. But I do think there was a subtle improvement in the mid range and perhaps a bit less in the treble. The bass end remained the same, to my ears anyway.
Then it occurred to me – why not try it on a lesser guitar and see what happens? I have a nice 000-size Seagull that I bought a few months back with the idea it would be my “travel guitar.” It is a nice guitar for the money. Seagull has really upped their game in the last couple of years in terms of fit and finish and overall sound. Not long ago every one of these Canadian-made guitars sounded dull and lifeless. Mine sounds pretty darn good when strummed, probably thanks to the solid spruce top with scalloped braces. The back and sides are cherry (composite) and the neck is also cherry with both the fingerboard and bridge made of rosewood. The best part is the neck shape. Although a bit narrow (1 11/16”) it has a rolled edge when makes fretting barre chords and chords requiring the use of the thumb on the fretting hand very comfortable. So I hooked it up to the Tome Rite, but this time I let it hum away for a bit more that the suggested 72 hours.
The results? Interestingly, pretty much same as with my much more expensive Martin. No noticeable improvement in bass, but clearer mids and treble and it seems like the sustain has improved somewhat. It still has a very woody, somewhat stifled sound that works much better as a guitar to strum rather than finger-pick but I would call this part of the experiment a success, on a limited basis.
But here’s the problem with all this. Although I tried to keep the basics the same for both guitars (fresh strings, same use of suspended guitar stand) over that week+ of my experiment the weather and relative humidity in my area has changed quite a bit. The humidity gauge in my studio has varied from the low 30% range into the mid 40% territory. I cannot deny that when it’s breezy outside, which it has been for about a week, my house is a bit drafty. And I absolutely believe that changes like that in humidity make a HUGE difference in the sound of ALL guitars, regardless of how inexpensive or fancy they may be. So you see what I mean about this being a totally unscientific experiment? I would need a totally sealed room with absolute control of temperature and humidity to come close to definitive results, I think. Which I do not have.
There are plenty of guitarists who swear by the Tone Rite and claim borderline miraculous results. Others hear very little change. Still others are outright disdainful of the thing and claim it is a total scam, not unlike the urban legend of one of the Japanese manufacturers putting new guitars in a big room with huge speakers blasting at them to “open” them up.
I wish I could recommend the Tone Rite without hesitation but I just can’t. I did hear some positive results, but would I have anyway in a relatively short amount of time without the thing? No way to tell. Further complicating this is the fact that in a few short months when our weather here on Olde Cape Cod gets hot and muggy, just about all acoustic guitars sound pretty dull and lifeless.
Maybe my next guitar should be one of the modern carbon fiber models that players and manufacturers claim are impervious to the weather. Nah. I’m too much of a traditionalist for that. Nah.
OK… well maybe…
Peace & good music,
Categories: Acoustics

Why the decline of the Gibson Guitar Company?

The Gear Vault - Thu, 02/22/2018 - 00:37

Gibson Brand, Inc is reportedly on the brink of bankruptcy. With $375 million of senior secured notes due and $145 million in bank loans due, along with Gibson’s debt-to-income ratio, the company is currently found in the “Non-Investment Grade” territory. Watch the video and leave your comments in the comment section below on what you […]

The post Why the decline of the Gibson Guitar Company? appeared first on Gear Vault.

Categories: General Interest

What Does Andertons TV Think About the New 2018 Charvel Models?

Charvel Guitars - Wed, 02/21/2018 - 07:55

Charvel has a bevy of new guitars for 2018, and the enthusiastic Andertons TV crew recently put together a quick showcase of a few of their favorite additions. In the new video, Rob Chapman wields both the Pro-Mod DK24 HH FR M QM in Trans Purple Burst and the Pro-Mod DK24 HH HT M Ash in Charcoal Gray as he runs down some of the finer points of these all-new models with Andertons co-owner Lee Anderton.

Switching between both Floyd Rose® tremolo and Charvel HT6 hardtail bridge options, Chapman lays down a few licks on the 24-fret machines. Both he and Anderton find themselves incredibly impressed by the wide tonal range found in the dual humbucking Seymour Duncan® Full Shred and Jazz pickups.

“It sounds great man,” says Anderton. “I’ve been a big, big fan of the Pro-Mod series from Charvel for the past four or five years now and it’s cool to see the Dinky in the range. It’s a really good mid-price option for anybody that wants a bit of an all-rounder.”

Watch the full reveal below and subscribe to Andertons YouTube channel by CLICKING HERE.

Categories: Manufacturers

Tom Wheeler Gifted Us With Guitar Passion

Guitar International - Wed, 02/21/2018 - 06:16

By: Rick Landers

Tom Wheeler - photo courtesy of the University of Oregon.

Tom Wheeler – photo courtesy of the University of Oregon.

A few years back, many of us have whiled away our time reading some insightful interviews in the pages of Guitar Player (GP) magazine or discovered more information about acoustic and electric guitars and their players, all gifted to us by the hard work and guitar passion of Tom Wheeler.

It was with sudden sadness that I learned of his passing from a friend and fellow guitar fan.

Tom generated informed enthusiasm for guitars and left his mark in kind, friendly and measurable ways, and in his global reach while serving as the Editor-in -Chief of Guitar Player (1981 – 1991), freelancing for Rolling Stone, editing Bass Player and authoring numerous tomes on guitars, amps, and musicians.

“On behalf of NAMM and our Members, we mourn Tom’s passing.  His role as a writer in the ‘70’s and then as chief editor of Guitar Player brought him into our world each month and he became required reading for all of us in music retail.  He was also aware of the industry’s responsibility in creating new players and under his leadership GP regularly sponsored our Stairway to Stardom program when I was at Skip’s Music in Sacramento.  Tom’s efforts helped shape the guitar market for decades and his contributions will live on.” – Joe Lamond, President, NAMM

Tom’s passion led him to conducting interviews with such legendary guitar masters and music industry leaders as, Les Paul, B.B. King, Eric Clapton, Leo Fender, Keith Richards and Little Richard.

Tom and I collaborated on an interview with the legendary Les Paul, with Tom graciously agreeing to write the introduction. We became personally acquainted during his visits to Paul Reed Smith Guitars, while we enjoyed the company’s annual trade show in Maryland. And later, his excellent book, The Dream Factory: Fender Custom Shop, was named Guitar International magazine’s Book of the Year.

More recently, Tom served as a journalism professor at the University of Oregon where he taught courses on “Grammar for Communications” and “Feature Writing”.

Books by Tom Wheeler

  • The Guitar Book: A Handbook for Electric & Acoustic
  • The Soul of Tone: Celebrating 60 Years of Fender Amps
  • Stratocaster Chronicles (Book of the Year Award – Vintage Guitar Magazine)
  • American Guitars: An Illustrated History
  • The Dream Factory: Fender Custom Shop (Book of the Year Award – Guitar International Magazine)
  • The Fender Archives: A Scrapbook of Artifacts, Treasures, and Inside Information
  • The Stratocaster Continues
  • Phototruth or Photofiction: Ethics and Media Imagery in the Digital Age

Several of his books included forwards by luminaries in the world of guitar, including: B.B. King; Eric Clapton; Billy Gibbons, Les Paul and Eric Johnson.

Tom Hutchin Wheeler passed away in the San Francisco Bay area at the age of 70, on Saturday, February 10, 2018. His legacy continues not only in his masterfully written books and articles, and in the so many other ways that he personally inspired his fellow guitar players, but most especially in how he will forever live in the hearts of his family and his many friends.




Categories: Classical

Rocktron Introduces The ValveSonic Plexi

I Heart Guitar - Wed, 02/21/2018 - 03:36

I had the pleasure of trying the RockTron ValveSonic in prototype form a few NAMMs ago and it blew my mind. I figure it’s gotta be even better now that it’s ready for release! I hoped to get time to try this final version out at NAMM but I never got a chance to make it over there. But it looks really cool and I bet it’d be killer with a great power amp.

Rocktron Introduces The ValveSonic Plexi

Battle Creek, MI, 21st February 2018 – Rocktron is pleased to unveil the ValveSonic Plexi, the first in the ValveSonic series of all tube guitar preamps. Developed in conjunction with LA Custom, this preamp captures the vintage tones of the iconic British “plexi” amplifiers, from the early stacked amps of the 60’s, to the arena sound of rock in the 70’s, to the sound heard during the 80’s “Sunset Strip” era and beyond…all in one convenient rack space.

The ValveSonic delivers pristine tone, no matter the musical genre. Its 1-2 switch allows players to quickly toggle between the ‘modern’ type of input used on British style amps, and a fatter, “classic” type of input. The Bright control allows five different variations, and the gain and boost controls allow you to replicate the 80s and 90s British amp tones. When combining the use of the unique AFTERBURNER switch, the ValveSonic allows you to fine tune your exact tone.

The ValveSonic Plexi is NOW SHIPPING! Check with your preferred local Rocktron dealer for pricing and availability.

To find out more about the new Rocktron ValveSonic Plexi, please go to http://www.rocktron.com/valvesonic-plexi.html

The post Rocktron Introduces The ValveSonic Plexi appeared first on I Heart Guitar.

Categories: General Interest

G3 Tour – Night of the Guitar!

Guitar International - Tue, 02/20/2018 - 11:43

by: Robert Cavuoto

 Robert Cavuoto

G3 in concert – photo credit: Robert Cavuoto

Joe Satriani, Phil Collen [Def Leppard], and John Petrucci [Dream Theater] are just about wrapping up a 25-date G3 Tour across the U.S. and Canada that started on January 11th and will end on February 25th.

One of the final tour stops was at the New Jersey Performing Art Center in Newark, NJ on Sunday, February 19th.

Joe Satriani has been putting on this traveling guitar extravaganza since 1996 and taking many incredibly talented guitarists out with him.

G3 is a celebration of all things guitar! Each artist comes out individually to perform their set, and then the trio meets to close out the show for the ultimate G3 Jam.

Phil Collen opened the show with a ’70s cover song “Quadrant Four” and then tore into an instrumental tune he wrote as a homage to Joe Satriani called, “Yo 2 Joe.” Debbi Blackwell-Cook (vocals) and Forrest Robinson (drums) from Phil’s side band, Delta Deep, joined him on stage for three additional songs from their CD; “Burnt Sally,” “Mistreated” and “Down in the Delta.”

You can hear smoldering live versions of these Delta Deep songs on their new CD/DVD called East Coast Live which was released January 26th.

John Petrucci performed next with his fellow Dream Theater bandmate Mike Mangini on drums. He performed a series of six songs, including one he wrote specifically for the G3 Tour called “Glassy-Eyed Zombies.” Other technically challenging songs performed by John included; “Wrath of Amazon,” “Jaw of Life” “Glasgow Kiss,” and “Damage Control.”


 Robert Cavuoto

Joe “Satch” Satriani

Joe Satriani came out for his 55 minutes set like a fireball, opening the show with the appropriately titled song to match his mood called; “Energy.” He brought in a cool mix of songs including “Thunder,” Satch Boogie,” “Superfunky,’ and closed the set with his biggest hit; “Summer Song.”

On January 12th Joe released a new studio CD called, What Happens Next, and he performed two of them called, “Catbot” and “Cherry Blossom.”

The moment the fans were waiting for had arrived, the G3 Jam! Tonight there were a few surprises in store! Glenn Hughes who performed on Joe’s new CD came out for a hair-raising version of Deep Purple’s “Highway Star.”

It was just announced that Glenn will be doing a U.K. tour in October to perform Classic Deep Purple songs. We can all only hope he brings that tour to the U.S.! Glenn remained on stage for the final two songs; Stevie Wonder’s “Superstition,” and “Goin Down”, by Alabama State Troupers.

Debbi also joined in on vocals and Alex Skolnick of Testament, who surprised the audience of guitar fans for the last two songs. All Hell broke out on stage at New Jersey Performing Art Center in Newark – it was complete guitar-ecstasy!

PHOTO GALLERY (Robert Cavuoto)

Phil Collen

Phil Collen

G-3 Satriani, Phil and John

G-3 Satriani, Phil and John

John Petrucci

John Petrucci

Joe, Phil and Glenn

Joe, Phil and Glenn

Categories: Classical

GI PICKS – Basic Fingerpicking

Guitar International - Tue, 02/20/2018 - 10:00

By: Staff

 Rick Landers

One that got away! – photo credit: Rick Landers

There are thousands of video guitar lessons on-line, some are marginal and some are terrific. GI PICKS will help to ease the pain of hunting around to find videos worth viewing to learn guitar basics, intermediate and advance techniques.

By doing so, we hope to reduce or eliminate the frustrations we’ve all faced when watching videos and some instructor showing you tuning speeds through the process, skips critical steps along the way of learning to play guitar or congests the video with too much talk.

The TOP GI PICKS videos we promote approach guitar lessons focus on process, are well-paced and smartly presented. I highly recommend that you visit each site in this series and if you find what you like, subscribe!

Acoustic Guitar Videos

Categories: Classical

Rewinding DeArmond Hershey Bar Pickups

James Roadman Instrument Repair - Tue, 02/20/2018 - 05:17

I had these DeArmond Hershey Bar pickups come into the shop for rewinding recently.  These pose a couple of challenges – the covers are riveted to the pickup and the coil is wound around the magnet which is unsupported on top.

I am sure the proper rivets are commercially available but I wasn’t able to figure out where to get the proper ones.  The world of rivets is more varied than one might expect.  Considering how often I do this repair it was just easier to make them.  I had some 3/16 nickel rod on hand it is not too difficult to machine them on the lathe.

To wind the coils I made a temporary support that was bolted onto the bobbin with cellophane tape in between.  I was able to wax pot the coil to make it more solid before removing the support.

IMG_1147 IMG_1152 2 IMG_1153 IMG_1154 IMG_1158 IMG_1159 IMG_1203 IMG_1209 IMG_1204 IMG_1208 IMG_1205 IMG_1211 IMG_1212

The post Rewinding DeArmond Hershey Bar Pickups appeared first on James Roadman Instrument Repair.

Genesis Revisited with Steve Hackett and Wuthering Nights: Live in Birmingham

Guitar International - Mon, 02/19/2018 - 10:02

By: Robert Cavuoto

Steve Hackett – photo credit: Christophe Pauly

In 2017, legendary Genesis guitarist, Steve Hackett, embarked on his Genesis Revisited & Classic Hackett Tour.

During a stop at Birmingham Symphony Hall in London of that year, Steve and his band filmed a concert for and released the CD/DVD  entitled, Wuthering Nights: Live in Birmingham.

This tour marked the 40th anniversary of Genesis’s Wind & Wuthering album. It was his last performance on a Genesis album.

To celebrate, Steve performed five of the best-loved tracks from this iconic album: “Eleventh Earl of Mar”, “One for the Vine”, “Blood on the Rooftops”,”…In That Quiet Earth”, and “Afterglow.” The CD/DVD also includes many songs from Steve’s 2017 solo album, The Night Siren.

I had the immense pleasure of sitting down with Steve in New York to discuss the making of Wuthering Nights: Live in Birmingham CD/DVD, his experiences and challenges honing his craft as a guitarist, and the status of a potential Genesis reunion.


Robert Cavuoto: It’s the 40th anniversary of Wind & Wuthering, your last album with Genesis; does it feel that long to you?

Steve Hackett: Not really, it seems like yesterday, but there have been massive changes in me and the world. I’m now able to go back and look at that material with a fresh set of eyes. I can do what I should have done with it at the time.

I now have carte blanche to reinterpret it. Giving it alternative or extra guitar parts is a nice thing. It’s not that it’s easier to play. I think Wind & Wuthering was an excellent album.

A lot of people ask what does “wuthering” mean? It means blustery and windy. It’s not even a word in common British use. But, it’s from the book, Wuthering Heights, by Emily Brontë. It also spawned a movie. Genesis and Kate Bush used it as inspiration, and it was our first hit single.

Robert Cavuoto: I recall reading an interview where you said you are most at home while on stage. Is that still the case 40 years later?

Steve Hackett: I think home is with my wife. Wherever we are, we consider it to be home, because we are very close.

There are two ways to look at being on stage. If you are fearful it can be a very lonely place, if you enjoy it, it can be a very welcoming place. You have to get over that nervousness, as it can get in the way. You wouldn’t be

 Lee Millward

Steve and Jo Hackett in Santa Monica, CA – photo credit: Lee Millward

human if you didn’t walk up on stage with some sense of, “Will this go right?”

I think the difference now and when I was a younger player is the degree in wanting to do this. I know there is an audience for it, the songs have proved themselves, and it’s a very different relationship with the same material and hoping people were going to like it.

Robert Cavuoto: What do you remember special about filming your new DVD, Wuthering Nights: Live in Birmingham?

Steve Hackett: I remember it was a good evening; I played the Symphony Hall in Birmingham quite a few times and each time was an extraordinarily tremendous experience.

I think as soon as the cameras are on and people know they are being filmed there is a perceptible feeling particularly with the audience that “Oh, I better be on my best behavior.” [Laughing]. They made a lot of noise during the night, but even the audience can get a little bit nervous during filming.

Robert Cavuoto: With such an immense musical catalog to chose from, do you find it difficult to pick the set list, whether it’s for this DVD or for your upcoming tour?

Steve Hackett: The DVD is a show we did last year. It moves on now from the 40th anniversary of Wind & Wuthering to the 40th anniversary of Please Don’t Touch, the first solo album I did after I left Genesis.

We changed the set list, as we have slightly different personnel with the band this time.

People have asked for songs like “Supper’s Ready”, which is very long, and from Genesis’s Foxtrot album in 1972. From the Nursery Crymes album, we are doing “The Musical Box” and “The Fountain of Salmacis” Its forte’ has always been to perform live, there is just something about the grand sweep of the romantic track. With its orchestral keyboards, I think it’s some of the best writing the band came up with at that time. The guitar makes cameo appearances in it, but essentially it has a symphonic temper to it.


Steve Hackett – photo credit: Icon Photo

Robert Cavuoto: Is “The Fountain of Salmacis” one of the songs that still makes the hair on your arms stand up when performing?

Steve Hackett: Yes, there is that, but I want to get it right. It’s one that you have to be on your mettle because you are riding the volume pedal the entire time and plenty of changes. No matter how familiar you are with it, you have to be very precise to do all the moves in the right places.

It’s this big romantic thing with a mythological and mystical aspect to it. It also has a theatrical aspect which was never enacted with Peter Gabriel; it was prior to him becoming and living the song. That actually happened one album later.

By Foxtrot he was depicting the actions of the songs much more. Maybe it’s all for the better, the idea of trying to impersonate some of the action would be less than believable. It’s better to have an image in the mind of the listener that isn’t too defined. It has a very strong visual element implied in the music, but I don’t think it necessarily has to be accompanied by physical and visual images.

A lot of songs from that time and prior to it, like The Beatles doing “Sergeant Pepper”, it was pre-visual music conjuring images and characters. I’m very glad there wasn’t a collection of videos that accompany that song. It didn’t need that.

Robert Cavuoto: I feel that you are one of the most technically proficient guitarists of our time. How do you feel about that title?

Steve Hackett: Well, I have to be humble about this. No matter what you can do on the guitar; I always feel that more can be achieved. Even when you can occasionally pull off the dazzling fast stuff, you always want to be able to do something more.

It’s almost like cyclic breathing where you have to keep up that level of energy and play fast for about an hour with no trip-ups. How is that possible?

You have to vary techniques tremendously to do that. You couldn’t keep up the same technique, so you would have to start switching to bits of tapping and sweep picking. You would have to pull out every trick in the book. I suspect it’s the same way to play really proficient Flamenco technique works; very full on.

Robert Cavuoto: At what point in your career did you realize that your style was truly unique?

Steve Hackett: I guess that’s for others to say. I suspect that I look for authenticity rather than originality. I have arrived at the point where I realized that nothing I do will be completely unique, because all the people that have come before me, and all the people who came after me, as well as all the characters that are around now.

I love the work of a lot of my contemporaries. Many who have been in similar bands and marvel at what they have been able to do. What I try to do is assimilate things into a style that involve very separate schools of thought; the Paganini approach of how would Andrea Segovia interpret a melody or how if Jimi Hendrix played it?

Other people like Carl Perkins, Django Reinhardt, and Pat Metheny, all have these varied schools of approach. There are so many ways to approach musical proficiently. Not to underestimate the effect of legato playing, very slow like a violinist or cellist might play a line and let the melody linger. The legato aspect of that kind of romantic 19th-century style of playing where you hold onto a note, like a lingering caress.

WutheringNightsCDcoverIt’s not all about proficiency, but bringing life and love you have for it. It’s not all about shaving nanoseconds off a blister runs; though we all want to do that and practice it. Its only part of what we are in love with.

If you stick together all these different gears, there is this pantheon of possibilities you find that the guitar can function firstly, as a percussion instrument but beyond that, it gives a close run to the human voice.

Robert Cavuoto: What I was marveling at while watching the DVD was your guitar tone. It was so impressive; powerful yet smooth and not overly distorted. Tell me about your Fernandez guitar and chasing that perfect tone.

Steve Hackett: The Fernandez guitar has a sustainer pick-up. It means that you can get sustain feedback induced from the guitar itself. It functions like the e-bow held over the string. An electrical charge from a battery is going from positive to negative, and that produces a vibration with the string.

The on-board version of that, that’s with the Fernandez guitars is pretty astounding, because the notes go further and I play in a different way. Perhaps not the lingering caress, but you can turn something into a cry, a dive bomb, or however you perceive it. It is possible to get the effect of the backward guitar by hitting the string very lightly. There is always the danger that if you hit it too lightly, it won’t engage, but using the sustainer pick-up, I’ll hammer on it and let the note build.

I do that during the solo of “Firth of Fifth”. I let the guitar do a lot of the work, particularly at the beginning. I’m not tearing into it, letting it float, and the guitar meets me more than half way. I just give it a little kick and seems to want to meet me somewhere and its one of the most satisfying moments when it’s doing that.

Initially, I thought it was something the sound mixer was doing. I wasn’t aware I was doing it until rehearsals. It’s actually coming from the fingers and how that pick-up works. It has been a real godsend, that level of technology transcends into the way I play. Live I add some effects like repeats, echo, and the front of the house sound mixer is adding reverbs and repeats, as well. It floats and inhabits that space on its own.

Robert Cavuoto: There has been a lot of chatter on the Internet about a possible Genesis reunion. I can’t help but see a pattern where bands start to vet it out in the press to get promoters excited and interested. Do you see this chatter as being the first step to a potential reunion, and what is the likelihood of it materializing?

Steve Hackett: It seems to be the big question that I’m asked during all interviews. All I can say is that I would love to be involved with the original guys. I doubt that it is possible.

There are no plans and suspect the other guys have other priorities than playing Genesis music. Whereas I after doing tons of solo albums, I felt it was time to assimilate my younger self [Laughing] and perform these songs that I fought so hard to get them done right back in the day. To redo them live or re-record them just to enlarge upon their original blueprint. To also add an orchestra in parts where it is relevant, or change the team of players. You won’t get the original team playing it.

I suspect that everyone in Genesis has their own idea about what the real Genesis is. I can only guess that Tony Banks, Mike Rutherford, and Phil Collins think the real Genesis was the era with the most commercial success.

The other side of it is with Peter Gabriel and the short period when we were a four-piece. All of the band’s incantations have been interesting!

I wish I could hold out more hope for people. My relationship to Genesis is now to own the early work and prove there is a hugely devoted following for it.

Robert Cavuoto: Are you all still friends with all the guys from Genesis?

Steve Hackett: Oh, yes! I’m still friends with them. In fact, we all went to a book launch by Richard Macphail. He wrote a book (My Book of Genesis) about Genesis because he was the original manager, roadie, and did so many things for the band.

He was held in high esteem. In fact, he could have been the band’s original singer, but he always set his ego to one side and did great things for the band. So, the four out of five of us showed up for that event. It was nice to see them.


Here’s one more video for the road, recommended to Guitar International by Genesis/Steve Hackett enthusiast, Mr. Joe Lamond, president, NAMM – Enjoy!

Categories: Classical

Glenn Hughes Performs Classic Deep Purple “Live” 2018 Tour

Guitar International - Sun, 02/18/2018 - 12:06

Press Release

Source: Noble PR

 Rob Cavuoto

Glenn Hughes – photo credit: Rob Cavuoto

Glenn Hughes, the former bassist and singer of Deep Purple, known to millions as the ‘Voice of Rock’, Rock and Roll Hall of Fame inductee, and the current front man for rock super group Black Country Communion, is pleased to announce that he will be performing Deep Purple only material with his “Glenn Hughes Performs Classic Deep Purple Live” nationwide U.K. tour in October 2018.

The nine date tour promises to be a dynamic, turn-back-the-clocks, two-hour live extravaganza homage to his tenure in MK 3 and MK 4 incarnations of Deep Purple – one of music history’s most seminal and influential rock and roll groups.  All tickets are on Sale priced £27.50 (London – £30.00).

Planet Rock will launch a 48-hour ticket pre-sale on Wednesday 21ST February from www.planetrock.com. Tickets will then go on general sale on Friday 23rd February from the 24 hour ticket hotline 08444 780 898 or HERE.

“I’m excited to be touring the “Classic Deep Purple Live” in the UK this October. I first toured Classic Deep Purple Live in Australia and New Zealand last year and it went down like a storm. We’re also touring the show throughout South America in April, and festivals throughout the summer. By the time we tour the UK in October, we’ll be on fire.”

For further info about Glenn Hughes’ October 2018 UK Tour, click HERE.


Bristol, Academy                                             Tuesday 2 October

Leamington, Assembly                                 Wednesday 3 October

Southampton, Engine Rooms                     Friday 5 October

Cardiff, Tramshed                                           Saturday 6 October

Leeds, University Union                               Tuesday 9 October

Newcastle, O2 Academy                              Wednesday 10 October

Glasgow, ABC                                                    Friday 12 October

Manchester, Academy 2                               Saturday 13 October

London, Koko                                                    Monday 15 October



Categories: Classical

10 Year Anniversary of Learning Guitar Now and Slide Method 1 Open E

Learning Guitar Now - Sat, 02/17/2018 - 08:19

This week marks the 10 year anniversary for the release of my first ever DVD video course Slide Guitar Method 1 Open E Tuning. This is the course that started it all for me and was the catalyst that led to this website being my full time job for 10 years now. It’s crazy how time seems to fly by so quickly as it doesn’t feel like it’s been that long ago since I was filming that very first video.

Things have changed dramatically since Feb of 2008 but one thing I have tried to continually focus on is making the lessons better and better every single year. I can’t say whether or not I have accomplished that but I sure have put forth a lot of effort in the past 10 years to make that happen. You can be the judge whether or not I have made the lessons better.

I would also like to thank every single person who has watched a lesson in the past 10 years whether it be free or paid. Without you guys there would not be any website at all right now.

Next I would like to send an extra special thank you to everyone has purchased lessons over the past 10 years as it is you who have allowed me to continue to make a living doing this and also to keep investing in more equipment to make the lessons better and better. I can’t thank you enough how much this means to me that you guys keep purchasing lessons and subscriptions. It’s been a dream come true for me to be able to do this for a living full time.

With the 10 year anniversary of Slide Guitar Method 1 Open E at hand I decided to put out a new course that focuses on open e tuning. I thought it was fitting since that’s how this website started and the reason I am here in the first place. It was also the Open E Tuning slide lessons that Gibson liked that I put out on YouTube that led to them using some of them on their website back in 2008.

It was an amazing feeling to know they thought my lessons were pretty good and also to put me and my favorite slide guitar player on the same webpage. That was an unbelievable moment when I first saw that and a feeling I’ll never forget.

After thinking about all this it was even more apparent that I should do something about Duane Allman Slide guitar for this 10 year event and that’s exactly what I have done.

For this 10 Year Anniversary I went back and listened to a lot of my favorite Duane Allman open e tuning solos and started going about putting this course into place. The material started coming really quickly and I knew this was going to be a great course in my mind. Whether other people enjoy still remains to be seen but it has passed my standards and ultimately that’s all I can do.

Lesson Index

Lesson 1 Abut Open E Tuning, Tone
Lesson 2 Open E Main positions
Lesson 3 Mannerisms

The Whip
The Fall Down
Repeated lick 1
Repeated Lick 2
Backwards Slide
The In Between

Lesson 4 Five Exercises
Lesson 5 Done Somebody Wrong Style Intro and Solo
Lesson 6 Statesboro Blues Style Solo

5 Free Download Versions Giveaway

For this 10 Year Anniversary Special I’ll be giving away 5 FREE Download versions of the NEW Play Like Duane Allman Slide Course. You’ll also receive Slide Guitar Method 1 Open E Tuning the new version that was re made back in 2011 then updated again in 2014.

To qualify for the FREE copy, just leave a comment below about how my lessons have helped you over the past 10 years. Only one submission per person please. The last day to leave a comment will be Monday Feb 19th at 9:00pm

All winners will be announced on Tuesday Feb 20th.

The post 10 Year Anniversary of Learning Guitar Now and Slide Method 1 Open E appeared first on Learning Guitar Now Blog.

Categories: Learning and Lessons

Totally Guitars Weekly Wrap Up February 16th, 2018

On The Beat with Totally Guitars - Fri, 02/16/2018 - 16:43
Master Your Favorite Tune with the online guitars lessons from Totally Guitars! Totally Guitars News Podcast This week we tried something new as far as lesson go. Max Rich added a couple segments to our Girl From Ipanema lesson on improvising over jazz changes. I know some of you are interested in just that sort […]
Categories: Learning and Lessons

Open up....your mind?

Cape Cod Acoustics - Fri, 02/16/2018 - 15:29
Much has been written on the process of an acoustic guitar “opening up.” This is the improvement of sound that comes as a new instrument is played over some period of time. What is it, really? Why doesn’t a new guitar sound as good as it can, right from the get-go? More importantly, how can someone judge what the potential of a guitar is, or will be?
I’m in the middle of that quandary right now, something I’ve experienced many times but that doesn’t mean I understand it and the relative certainty that a fine guitar will improve with age and playing time doesn’t make my impatience any less. At least experience has finally begun to override my gut reaction with a new guitar. The impatient little man on my shoulder whispers in my ear: Yeah, it sounds good now but not as good as you’d hoped, so maybe you should send it back and try a different one?
I don’t listen to the little man nearly as much as I used to, which is the right course I think. What I try to do is address those two key questions – is this new guitar at its full potential, and if not, what will that potential be?
Let’s suppose I answer yes to the first question. This may be just fine. I recall a Martin HD-35 that I bought some years ago and it sounded fantastic from the very first strum. And more telling, it still sounded that way the next day, and the day after that. I knew it was a winner. That one ended up being traded for a smaller bodied Martin, which suited my playing style at the time a bit better but in spite of the fact that I find dreadnoughts just too big and unwieldy to play these days I’d love to be able to afford to have that one back. On the other hand, I spent $3k on a “revoiced” Taylor a few years ago and I only needed to play it for a half-hour or so to know it was dull and lifeless and it was not going to improve. Taylor just introduced yet another generation of “revoiced” guitars so my guess is that I wasn’t the only one to have that reaction. That Taylor, although gorgeous in every way except sound went back and I had no regrets (and perhaps a bit of relief!).
Then there is the second question: potential. This is where my experience with hundreds of guitars comes into play. And make no mistake, it truly has taken that many (both owned and played at guitar shops, and listened to student’s guitars over an extended period of time) to learn how to make a reasonably informed guess. I have to start by putting aside as much as possible the issue of aesthetics. I’ve made some mistakes in that regard. Some years ago I bought a very limited-edition Martin 000-40 Graham Nash model that was just about irresistible in looks with quilted mahogany top, back and sides that almost glowed and cool inlay. It sounded…plain. It took some swallowing of my guitar pride to realize the mistake I’d made and that one only stayed around for a couple months.
You would think that would have taught me a lesson, but no. A year or so later I bought a limited-edition Martin dreadnought that featured a curved three-piece back and koa binding. It was a joy to behold and sounded pretty good, but not good enough to justify the expense of the aesthetics. And there were other cases of falling for a pretty face, like the first-generation Martin GPC-1 that I realized too late was not much more than Martin’s attempt to imitate a fancy Taylor! It sounded unremarkable and the sharp edge of the new design, thin neck was downright painful to play.
Here’s where I’m going with all this. I just received my latest Martin, a brand new OM-28. Martin has made lots of noise in the last year or so about the improvements they’ve made in some of their standard series guitars. I’ve played the new 00-18, 000-18 and D-18 that have the new scalloped bracing and more modern neck designs and without exception they were all very fine guitars indeed, and definitely a step up from their already fine original versions. Until recently the OM-28, thought by many to be the perfect size Martin for both finger-style and strumming was a special order only model but it now is in their regular catalog. The only change they made with the new version of the OM-28 is to use the Performing Artist profile neck, which makes playing higher up the neck more comfortable. If mine is typical, they also are very slightly “rolling” the fretboard edge so that razor sharp neck edge may be a thing of the past, thank goodness. Can’t neglect the aesthetic entirely though, but hopefully my taste has matured in this regard. My OM-28 has the understated and elegant look of a vintage Martin, with small diamond inlays and old-style curved fine-line logo on the head stock rather than the raised gold foil logo that I never liked that much. They have also toned down the almost orange color “vintage toner” to something more subtle, which was long overdue.
So, how does it sound? To be totally honest, I was a bit disappointed when I tuned it up and began finger picking some blues tunes. Must be those coated strings they use on new guitars, I thought, so I immediately changed to my favorite Martin Clapton’s Choice light gauge phosphor bronze. This improved the tone a bit so my slight disappointment turned to reserved optimism. I played some more, finger picking and then strumming with my thumb. Better, better…..
But then I picked up a flat pick, fingered a 1st position E Major chord and gave it a solid strum. Oh my. There it was. Volume, clarity, excellent note separation, even response from low to high E strings, and resonance. Beautiful resonance. Yes, it faded away a bit faster than I would have liked, but that classic Martin sound was there, trying to come out like a bird emerging from its shell. I strummed it again. And again. And again, harder, trying to make the sound “break up.” And it didn’t. There was a wide grin on my face about time.
My conclusion: this is one fine Martin OM-28 that will surely “open up.” And with a bit of extra effort it sounds superb right now. This one ain’t goin’ nowhere!
But having said that, I have a confession to make. That impatient aspect of my guitar personality cannot be denied. I have no idea when the opening up process will really make this guitar bloom but I’m going to try to speed up the process. Next week a device called a Tone Rite will arrive in my mailbox. It is an electrical device that is temporarily attached beneath the strings near the bridge and when turned on it emits a low, steady hum and soft vibration that is supposed to at least somewhat emulate what playing the guitar does over an extended period of time. If used according to directions and employed for about 72 hours, many reports from other guitarists indicate a marked improvement in sound, especially in resonance and sustain. There are others who feel it is electronic snake oil. I will report back!!!
Peace & good music,
Categories: Acoustics

Guitar International Magazine Returns to the Fold

Guitar International - Thu, 02/15/2018 - 08:35

Press Release

Source: Guitar International Magazine

Reston, VA (February 21, 2018) – After a long breather, Guitar International magazine is back from our hiatus to offer our fellow music and guitar enthusiasts with news and information about acoustic and electric guitars.

GI_logo_5We will, however, broaden our coverage to include more emphasis on vintage guitars, buying and selling guitars, music careers, unique guitars, music industry challenges, innovations and personalities. And to be true to our name, we will seek out musicians from around the globe to discover and learn more about the diversity of musical styles.

Slowly, we will be populating Guitar International with our vintage interviews, reviews, news and other information. So, in some respect we’re at the crossroads, looking forward to a new improved phase of our magazine.

Initially, you may find Guitar International quite barren of what you relied on in the past with respect to nearly 2,800 pages of free content. We are reviewing our past content and will replenish GI with news and information that continue to be of value to you.

Guitar International is a reflection of how well our contributing writers and photographers, public relations professionals, both amateur and professional musicians, transcribers, webmasters, editors and other staff have worked to build a professional on-line guitar magazine that is free.

Our intent has always been and will continue to be to protect and respect our readers’ privacy, and we will continue to seek to align our own ambitions and altruism to produce a good “product”.  Our writing will seek to be of the highest standards, yet at the same time allow those we interview to speak freely. We will, however, retain our right to publish or not publish content at our sole discretion.

We also strongly support the efforts of our friends at both on-line and print guitar magazines and urge you to help them retain their professional staffs to provide news and information about acoustic and electric guitars.

We at Guitar International consider ourselves members of a guitar enthusiast community and we fully recognize the challenges to “get the word out” about our favorite musical instrument.

Many fine print and on-line guitar-centric magazines have come and gone since Guitar International was founded in 2005, as Modern Guitar Magazine.

It’s a tough road. And we recognize the many challenges that have faced print guitar magazines since we started, and our hat’s off to our competitors for their creative talents, fortitude and passion for our favorite instrument.

All of us at Guitar International look forward to serving you as one of many guitar news and information resources.






Categories: Classical

Lifetime Achievement Award Presented to Bonnie Raitt

Guitar International - Wed, 02/14/2018 - 21:47

Press Release

Source: National GUITAR Museum

 Joseph A. Rosen

Bonnie Raitt – photo credit: Joseph A. Rosen

The National GUITAR Museum announced that Bonnie Raitt, one of the most accomplished guitarists of the past 50 years, will receive its annual Lifetime Achievement Award.

Raitt is only the eighth recipient of the award. Raitt’s musicianship spans four decades of popular music, from gritty blues to chart-topping pop and rock.

“There has not been a more visible female player of the electric guitar in history,” according to HP Newquist, the executive director of The National GUITAR Museum. “Bonnie’s extraordinary skill and her inherent passion for electric blues—along with her mastery of slide guitar, one of the most difficult musical styles to play well—are second to none in modern guitar. She is both an icon and an inspiration, and we’re honored to be able to recognize Bonnie’s contribution to the guitar with this award.”

“I’m so honored to be receiving this Lifetime Achievement award from the National GUITAR Museum,” said Ms. Raitt. “It’s an instrument I fell in love with when I was nine years old and taught myself from records. I love playing slide guitar and am so glad to be part of a tradition that is encouraging people to keep the blues alive and keep roots music vital and important. If people like me have been inspirations for young people, especially girls, picking up the instrument, I’m very proud. Thank you all so much for this honor.”


In addition to her stellar guitar playing, Raitt is known the world over for her singing, songwriting, and active support of notable causes. As a solo artist, she has received 10 Grammy Awards, reached multi-platinum album status, and released 20 albums—the most recent of which is “Dig In Deep.” She will be touring the United States this year with James Taylor & His All-Star Band.

For more information, contact director@nationalguitarmuseum.com

Categories: Classical

Styx, Joan Jett & The Blackhearts Co-Headline US Summer Tour 2018

Guitar International - Wed, 02/14/2018 - 18:15

Press Release

Source: ABC Public Relations

Legendary rockers Styx and Joan Jett and the Blackhearts are teaming up with Tesla for a summer U.S. tour that kicks off May 30 in Irvine, CA at the FivePoint Amphitheatre.

Styx - Photo courtesy ABC Public Relations

STYX – photo credit: Jason Powell (Courtesy of ABC PR)

Tickets for various cities of the tour, produced by Live Nation, will go on sale starting Friday, February 16 at 10am local time at Livenation.com.

Styx and Tesla will be offering VIP packages via their own exclusive pre-sales beginning Wednesday, February 14 at 10 a.m. local time at StyxWorld.com and Teslatheband.com.  Fans can explore VIP packages available at the time of ticket purchase and at VIPNation.com.

Check out this video to learn more about the Joan Jett and the Blackhearts/Tesla tour:

STYX: Tommy Shaw (vocals, guitars), James “JY” Young (vocals, guitars), Lawrence Gowan (vocals, keyboards), Todd Sucherman (drums) and Ricky Phillips (bass), along with the occasional surprise appearance by original bassist Chuck Panozzo—would eventually transform into the virtual arena rock prototype by the late ’70s and early ’80s, due to a fondness for big rockers and soaring power ballads.

Over the course of their 40-year career they’ve released 15 studio albums, six best-of compilations and four live albums, garnering eight Top Ten singles. Styx has sold over 30 million albums worldwide.

Throughout their illustrious career, they’ve performed more live shows since 1999 than all of the previous years of its career combined. Two Super Bowl appearances, Pollstar box office chart-topping tours with Def Leppard, Journey, Boston, and Bad Company (to name only a few), two more studio albums. September 2, 2016 marked the long-awaited release date of Styx: Live at the Orleans Arena Las Vegas  on DVD, Blu-ray and Digital Formats via Eagle Rock Entertainment.

The video captures the band performing in July 2014 such fan favorites as:  “Too Much Time On My Hands,” Fooling Yourself (The Angry Young Man),” “Renegade,” and more. It also includes a special surprise visit from Don Felder—formerly of the Eagles—for a rousing performance of “Blue Collar Man (Long Nights).”

It was released on CD July 24, 2015. After 14 years, Styx’s sonically sweet 16th studio album and its most ambitious, most challenging, and most rewarding album to date, The Mission, was finally released June 16, 2017 on the band’s label, Alpha Dog 2T/UMe. It debuted on various Billboard charts, including: #6 Top Rock Albums, #11 Physical Albums, #11 Vinyl Albums, #13 Current Albums, #14 Billboard Top Albums, #16 Retail, #17 Mass Merch/Non-Traditional, #29 Digital Albums, and #45 Top 200 Albums (includes catalog and streaming).

Joan Jett -

JOAN JETT – photo credit: Roger Erickson (Courtesy ABC PR)

JOAN JETT & THE BLACKHEARTS:  Joan Jett is an originator, an innovator, and a visionary. As the leader of the hard-rocking Blackhearts, with whom she has become a Rock and Roll Hall of Fame inductee, she’s had eight Platinum and Gold albums and nine Top 40 singles, including the classics “Bad Reputation,” “I Love Rock ‘N’ Roll,” “I Hate Myself For Loving You,” and “Crimson and Clover.”

Her independent record label, Blackheart, was founded in 1980 after she was rejected by no less than 23 labels. Blackheart is one of the longest running indie labels and continues to give voice to new bands.

As a producer, she has overseen albums by Bikini Kill, Circus Lupus, as well as the Germs’ LA punk masterpiece, GI. Jett’s music has become a permanent force in mainstream culture. Jett and the Blackhearts released their latest record, Unvarnished,  in 2013 and continue touring the globe with headline shows alongside fellow rock icons like The Who, Green Day and the Foo Fighters. Additionally, Jett has acted and appeared in movies & television, including the film Light Of Day.

Jett was also able to see her story told in The Runaways, the film based on (lead singer of The Runaways) Cherie Currie’s book, Neon Angel, starring Kristen Stewart as Jett, and Dakota Fanning as Currie. Jett was close to the project, serving as executive producer.

In January, the documentary film based on Jett’s life, “Bad Reputation,” – produced by Blackheart’s SVP Carianne Brinkman and directed by Kevin Kerslake – premiered to critical acclaim at the 2018 Sundance Film Festival, with the New York Post hailing that “‘Bad Reputation’ does it right, tracing Jett’s trailblazing path as one of the first, and still the hardest-rocking, women.”

TESLA: Over the course of their thirty-five-year career, the iconic Sacramento melodic hard rock quintet—Frank Hannon (guitar), Brian Wheat (bass), Jeff Keith (lead vocals), Troy Luccketta (drums), and Dave Rude (guitar)—sold more than 25 million albums domestically and played globally to sold-out crowds far and wide.

TESLA – photo credit: Ralph Halfin (Courtesy of ABC PR)

To say Tesla live is absolutely bombastic is an understatement, they are a hard rock band to beat all hard rock bands. Tesla’s ninth full-length album titled, Shock, is due out fall of 2018. The highly anticipated album features Phil Collen of Def Leppard in the producer’s chair and takes a big leap forward as they glance back on their Mechanical Resonance Live!  album.



Categories: Classical

Ashokan Farewell Inspired

Guitar International - Wed, 02/14/2018 - 10:15

By: Rick Landers

*****Niel Gow (1727 – 1807), Scottish violinist and composer*****

Recently, while at an open mic at ArtSpace Herndon, Virginia, one of the performers, Nicholas Black, pulled out his viola and played the 1982 composed tune, “Ashokan Farewell”, by Jay Unger and Molly Mason.

The plaintiff farewell is a beautiful instrumental that wrenches the heart, makes us ache, and was introduced to most of us by the Civil War television mini-series of Ken Burns, during a reading of a letter from Major Sullivan  Ballou (U.S.) to his wife, Sarah.

Sullivan Ballou (March 28, 1829 – July 29, 1861) wrote the letter to Sarah a week before his death by a cannonball strike at the Battle of Bull Run, and it is forever seared into our collective memories by its beauty, and the underlying score of the “Ashokan Farewell”.

In the early nineties, the instrumental became my wife’s and my wedding song, and we hired a guitarist and violinist from the Shenandoah Conservatory in Virginia to perform it for our friends and family.

We would later see Jay and Molly play their now classic tune at a venue in McClean, Virginia, and it was as captivating as it was the first time we’d heard it played.

It seems the tune was inspired by an 18th century Scottish performer named Niel Gow (1727 – 1807). The story goes that upon the death of his second wife, Margaret Urquhart, Gow composed one of his best known tunes, “Niel Gow’s Lament for His Second Wife”.

And an often accompanying story suggests he put away his violin for ten years, which is most peculiar, if only because for most musicians that would be like living without oxygen.

After listening to Gow’s lament on violin a few times, I sent a note to the award winning guitarist, Matt Palmer, to see if he’d heard the 18th century tune.

Matt told me that he’d recorded the lament just two months before, then sent me a link to a video of him playing it, most exquisitely, as I’d expected.

“Ashokan Farewell” is reminiscent of the Gow tune, although certainly it’s more “in the style of”, than replicated. Such tunes are drawn from a songwriter’s musical roots, from places, from their innermost feelings, all while stirring a magical cauldron of notes, tones and emotions.

In the traditional fashion of folk music, the hand me down nature of a song’s journey moves without exactitude, and migrates more by the emotional weight of a composition passed down between kindred spirits, one generation at a time.





Categories: Classical

Tool marks

Owyhee Mountain Fiddle Shop - Tue, 02/13/2018 - 13:29
Purfling installed on 4 plates (2 fronts, 2 backs) and now working down the arching.  Here is a spruce viola top.  Parallel gouge marks from the rough arching.  Smaller (aka smoother) tool marks around the purfling now, smoothing out the perimeter.  Starting to take the gouge marks along the spine out with finger planes. Then onto scrapers.  Then onto horsetail.  Smaller shavings with each successive tool.


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